December 2007

Sunday, December 30, 2007

Gladys Knight & The Pips - 1971 - Standing Ovation

Gladys Knight & The Pips - 1971 - Standing Ovation

Almost a deeper soul sound than before from Gladys Knight -- a record that features some very strong southern-styled production from Johnny Bristol and Clay McMurray -- but in a way that reflects the new sort of "adult" mode of the time! The style here is a careful blend of the raspiness of Knight's roots and some of the changes going on in Memphis and Muscle Shoals -- modes that are still a bit down home, but which show a more mature presentation of their themes -- served up in arrangements by HB Barnum, David Van DePitte, and Paul Riser.

Tracks :
1. Make Me the Woman That You Go Home To (3:47)
2. Can You Give Me Love With a Guarantee (3:08)
3. Fire and Rain (3:58)
4. Master of My Mind (2:27)
5. He Ain't Heavy He's My Brother /
6. Bridge Over Troubled Water (5:35)
7. It Takes a Whole Lotta Man for a Woman Like Me (3:11)
8. Help Me Make It Though the Night (4:18)
9. Long and Winding Road (3:25)
10. If You Gonna Leave (Just Leave) (3:38)
11. No One Could Love You More (3:17)

Members :
Gladys Knight
Merald "Bubba" Knight
William Guest
Brenda Knight
Eleanor Guest
Edward Patten

Gladys Knight & the Pips were an R&B/soul musical act from Atlanta, Georgia, active from 1953 to 1989. Best known for their string of hit singles from 1967 to 1975, including "I Heard It Through the Grapevine" (1967) and "Midnight Train to Georgia" (1973). The longest-lived incarnation of the act featured Gladys Knight on lead vocals, with The Pips, who included her brother Merald "Bubba" Knight and their cousins Edward Patten and William Guest, as backup singers.

Full Bio Here :
http://en.wikipedia.org/wiki/Gladys_Knight_%26_the_Pips#History

Review :
Originally released as Soul LP 736 in December 1971, this album heralded Gladys Knight, once and for all, as a singer for discerning adult listeners. Never again would any pretense to adolescence be affected. From this album forward, I was never indifferent at the news that Gladys Knight & the Pips had a new release.

The album led off with the group's then current single "Make Me The Woman You Go Home To", a sterling performance. Nowadays, though, the lyrics might raise an eyebrow as Gladys 'bargains' to keep the man she wants: 'with a smile I'll fix you're evening meals/ iron your clothes - it ain't no big deal.' She also promises not to ask questions while her man stays out all hours and she doesn't know where he is. Yes, that's taking some big chances, but if love's never made a fool of you, there's a good chance you've never really been in love. "Master of My Mind", here, is from the same emotional territory.

Oh, Gladys can still let an abusive lover have it right back, and there's some proof of that here too in "If You're Gonna Leave Just Leave", and especially "It Takes A While Lot Of Man For A Woman Like Me". Fed up, and with clever Smokey Robinson lyrics to fuel her fury, Gladys tells her failing lover: 'Need someone who can see/ what I'm trying to be/ But you don't appreciate it/ and I don't like where I'm situated/ Never knowing what changes you're gonna go through/ And I don't need no KID who's as old as you!'

There are nice takes on outside material like "Bridge Over Troubled Water", "He Ain't Heavy, He's My Brother", a superb and effecting read of James Taylor's "Fire And Rain", and the gentlemen Pips singing some lead parts on The Beatles' "The Long And Winding Road".

This album's crown jewel, however, was Gladys's take on the Sammi Smith country hit, "Help Me Make It Through The Night" written by Kris Kristofferson. There was no better proof that the group was never going back to teenage material after this. Fittingly, Gladys is all alone for this starkly orchestrated dissertation of loneliness, and I still think it's in the top five emotional performances of her life. Anyone who heard this in the early months of 1972 couldn't have been surprised at how majestically she re-interpreted 'The Way We Were' three years later. If you're broken-hearted and need to feel sad for yourself, this performance, and maybe a few shots of something 80-proof are all you need.

There's a considerably longer list of accomplishments that Motown records can be proud of compared to any list of mistakes. But high on that shorter list is the fact that this group's concerns about the attention and promotion they got were not addressed adequately. Tired of feeling ignored, and with one more album after this one, they left for a contract with Buddha records. And we all know the glory that came then.
~By D.V. Lindner

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Thursday, December 27, 2007

Marlena Shaw - 1974 - Who Is This Bitch, Anyway?

A Soul - Jazz Diva in the most mature moment of her career, featuring a dynamite rhythm section & Marlena's excellent vocals.

A great record that has Marlena Shaw further developing her style as a sophisticated soul diva with a sharp modern edge! Although already great in the 60s, Shaw emerges here as an all-adult, all-woman singer -- dealing with issues that never would have gotten touched in the decade before, all with a directness and sensitivity that's totally great.

Arrangements throughout the album shift from mellower soul to hipper jazz with ease - taking Shaw into a wide range of territory that clearly shows that no areas were off limits to an artist of her stature in the 70s!

Label: Blue Note
Catalog#: BA-LA397-G
Format: Vinyl, Album
Country: US
Released: 1975
Genre: Soul - Jazz

Tracklisting:
A1 Dialogoue : You, Me And Ethel (3:17)
Street Walkin' Woman (3:03)
A2 You Taught Me How To Speak In Love (3:52)
A3 Davy (5:26)
A4 Feel Like Makin' Love (5:00)
A5 The Lord Giveth And The Lord Taketh Away (1:05)

B1 You Been Away Too Long (3:07)
B2 You (3:45)
B3 Loving You Was Like A Party (4:17)
B4 A Prelude For Rose Marie (1:56)
B5 Rose Marie (Mon Cherie) (4:19)

A record as fierce and blunt as its title portends, Who Is This Bitch, Anyway? vaults Marlena Shaw into a brave new world of feminism and funk, updating the sophisticated soul-jazz approach of her previous records to explore a fast-changing musical, political, and sexual landscape. Opening with "You, Me and Ethel," a hilarious satire of the singles bar culture, the album dissects modern romance with uncommon insight and candor, addressing lust ("Feel Like Makin' Love") and loss ("You Been Away Too Long") without pulling any punches. The music is similarly direct and progressive, running the gamut from luminous soul to scorching funk grooves. Not only Shaw's best-selling Blue Note release, Who Is This Bitch, Anyway? represents her creative apex as well.


Get The Soul Jazz Diva here @320
marlena_shaw-_1974_-who_is_this_bitch_anyway.rar

And give us your opinion for both albums or anything.

Marlena Shaw - 1969 - The Spice Of Life

This album, one of Marlena Shaw's first, finds her dipping effortlessly into a variety of musical styles: pop-soul, blues, jazz, and more.

The soul diva Marlena Shaw released her best soul LP “Spice of Life “ which includes classic soul tunes such as “California Soul", "Woman Of The Ghetto" and "Liberation Conversation". Also features Shaw's first recording of one of her signature numbers, "Go Away, Little Boy".

Marlena Shaw - 1969 - The Spice Of Life
Recorded 1968 and 1969 at Tel-Mar Studios, Chicago
Original recordings produced by Richard Evans and Charles Stepney

Tracks :
1 Woman Of The Ghetto 6:03
(Miller, Shaw & Evans)
2 Stormy Monday 3:02
(Walker)
3 Where Can I Go ? 2:21
(Miller, Fuld & Berland)
4 I'm Satisfied 2:48
(Dollison)
5 I Wish I Knew (How It Would Feel To Be Free) 3:10
(Taylor & Dallas)
6 Liberation Conversation 2:04
(Miller & Shaw)
7 California Soul 2:58
(Ashford & Simpson)
8 Go Away, Little Boy 2:46
(Geffen & King)
9 Looking Through The Eyes Of Love 2:58
(Mann & Weil)
10 Anyone Can Move A Mountain 3:02
(Marks)

Reviews :

1
An amazing batch of sophisticated soul tracks -- and a favorite with the righteous groove scene! On the surface, the record's a combination of jazz and soul tracks in the same mode that you'd find on some of Nancy Wilson's albums for Capitol during the same time -- but digging deeper, you'll find an undercurrent of politics, feminism, and social commentary delivered with surprising intensity. Marlena Shaw's voice is generally sweet, but she's set up in some extremely powerful arrangements by Richard Evans and Charles Stepney that recast even the simplest phrase into a whole new setting of strength and pride -- and Bobby Miller of Dells fame also helped make the record what it is, and helped write some of the best songs on the record. The set includes Marlena's classic original reading of "Woman Of The Ghetto", which has been sampled by just about everyone ! Plus "California Soul", which has a nice hard break, and the tunes "Liberation Conversation", "Where Can I Go?", and the original version of "Go Away Little Boy" -- as sweet a statement of womanhood if there ever was one !
~DustyGroove

2
Marlena Shaw's penchant for stylistic variety is certainly evident on this, her sophomore release. Cut for the Cadet label in 1969, Spice of Life ranges from soul and proto-funk to jazz and MOR-hued material. Shaw shines throughout, showing her power on politically charged, Aretha-styled cuts like "Woman of the Ghetto" and "Liberation Conversation," while also delivering supple interpretations of such traditional jazz fare as "Go Away Little Boy" (shades of Nancy Wilson). And with a gutsy take on "Stormy Monday," it's clear Shaw doesn't shrink from the blues either. Across this sound spectrum, arrangers Richard Evans and Charles Stepney envelope Shaw in unobtrusive yet exciting pop-soul environs, throwing kalimba runs (a few years before Earth, Wind & Fire picked up on the instrument), psych guitar accents, and bongo-fueled organ riffs into the mix. Their widescreen touch is particularly well essayed on strings-and-brass standouts like the Bacharach-inspired Barry Mann & Cynthia Weil composition "Looking Through the Eyes of Love" and Ashford & Simpson's "California Soul" (a classic reading heavily favored by the crate-digging set). A perfect way to get familiar with Shaw's impressive early work.
~Stephen Cook, All Music Guide

(Front Cover of the 2nd issue)

Bio :
Marlena Shaw is a singer. Born Marlina Burgess in 1942, New Rochelle, New York, Shaw was discovered by Chess Records in 1966. She released her first two albums on their subsidiary Cadet Records. She moved to Blue Note Records in 1972, and was that label's first female artist. Shaw still performs and records today.

~@~@~

Marlena Shaw is among the most versatile and charismatic jazz vocalists on the scene today. Her performances are marked by an artful blend of pop standards and straight-ahead jazz tunes. Her extroverted stage presence gives her an edge over other vocalists, and clearly, singing live before an audience is where she feels most comfortable.

After her uncle Jimmy Burgess introduced her to the recordings of Dizzy Gillespie and Miles Davis, she caught the jazz bug and purchased records by Al Hibbler, a vocalist who had a big influence on her singing style. When she was ten she performed at Harlem's Apollo Theater, and despite the enthusiastic reception she received in front of one of the world's toughest audiences, her mother refused to let her go on the road with her uncle, a trumpet player. Shaw attended the State Teachers' College in Potsdam, NY, but later dropped out. For some time in 1963 she worked around New England with a trio led by Howard McGhee. By the mid-'60s she was performing regularly for audiences in the Catskills, Playboy clubs, and other New York area clubs. In 1966, she recorded "Mercy, Mercy, Mercy" for Cadet Records, and the single sold very well for an unknown singer. The single's success, a rare vocal version of the tune, prompted executives at Cadet to encourage her to record a whole album for the label in 1967. The diversity of styles, including blues, jazz, and pop standards, is reflected in the album's title, Out of Different Bags. Through her accountant, she was brought to the attention of bandleader Count Basie, and she ended up singing with the Basie band for four years.

(Back Cover of the 2nd issue)

In 1972, after leaving the Basie Orchestra, Shaw was the first female vocalist signed to Blue Note Records, and she toured for a while with the late Sammy Davis Jr. Shaw recorded five albums and several singles for Blue Note, and critics likened her singing style to Dinah Washington and Sarah Vaughan. At her club shows, Shaw dazzled audiences with her intoxicating blend of straight-ahead jazz, soul, pop, and classic R&B, but her recordings will also satisfy fans of traditional jazz who have no prejudices about blues and R&B.
~Richard Skelly, All Music Guide

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Wednesday, December 26, 2007

Curtis Mayfield Memory Day

Eight years passed till Curtis Mayfield died.
But his funky grooves will stay in our souls forever.
Here a couple of Curtis videos.

Скачать / Download (rapidshare):

Episode with Curtis Mayfield soul singing from the rough jail drama - Short Eyes :

Curtis Mayfield - Do Do Wap Is Strong in Here Video
[From Short Eyes Movie '1977]

Great funky slide-show from cult blaxploitation movie Superfly:
Curtis Mayfield - Pusherman Video [from Superfly Movie '1972]

Tuesday, December 25, 2007

The Politicians - Psycha-Soula-Funkadelic 1971-1972

The Politicians - Psycha-Soula-Funkadelic

(The Hot Wax Sessions) 1971-1972

This rare groove quintet, were obviously influenced by the Parliament. This album was cut in 1972 in the midst of the invictus/hotwax regime. If you like raw, guitar influenced funk this is an album you can not overlook !

Tracks :
1 Psycha Soula Funkadelic 3:50
2 The World We Live In 4:23
3 Church 3:17
4 Free Your Mind 2:52
5 Everything Good Is Bad 4:17
6 Song For You 4:36
7 Speak On It 5:42
8 Funky Toes 4:06
9 Politicians Theme 3:01
10 Close Your Big Mouth 3:11
11 Love Machine_Vocal 2:52
12 Love Machine_Instrumental 2:35

Reviews
1
Incredibly messed-up funk -- a 70s instrumental classic that's delighted our ears for years! The set's got a cosmic sound that mixes together conventional guitar-based funky with some weird electronic touches at times -- going for a fuzzed-out moogy quality that really deepens the groove -- and which goes even further on those tunes that push the basslines all the way into the red! The group's headed by McKinley Jackson, and features some ex-members of Parliament -- all coming together in a full, rich sound that almost has traces of soundtrack sophistication at times -- yet which manages to come across with the burning energy of a funky 45! The album includes the classics "Funky Toes" and "Psycha-Soula-Funkadelic" -- plus the group's legendary take on "Free Your Mind", a sample classic from years back!
Great stuff if you dig a fuzzy Westbound sort of funk groove

2
Fronted by McKinley Jackson this set could easily be fit into the current blaxploitation category with its early 70's wah wah style of guitar playing so reminiscent of the soundtracks of Isaac Hayes and Curtis Mayfield of the day. Best example check out the superb guitar playing on the track entitled 'Church'.

The Politicians were the house band for Hotwax/Invictus and their style of playing is so evident of the big hits of the label by the likes of Chairmen of the Board/Freda Payne/Honeycone/Laura Lee etc. Not an album for dancing, mind you it does include the instrumental version of 'Love Machine' which back in 1971 was my top floor filler at Manchester's Jilly's nightclub in Gore Street, where nothing could topple it from being the most requested single for almost three months. The vocal version featuring Jackson is here too.

If you prefer your music a little gentler then check out the gorgeously arranged 'A Song For You' which could match Isaac Hayes' 'Ellie's Love Theme' any day of the week. A truly amazing arrangement and must surely rank as one of the best tunes on the set.

The 'Politicians Theme' takes you on an instrumental journey again and another tune that could have been another 'Across 110th Street' for example.
Classic blaxploitation at it's best. If you want a really class album that gives the listener the best of what was on offer at the time from these now famous labels
then this is a must !


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Marry Xmas to everyone !

Monday, December 24, 2007

Undisputed Truth - 1975 - Cosmic Truth

I Wish to all visitors and friends of the blog

Merry Christmas and A Very Happy New Year

As a present for this special day i share a group that you love so much.

Undisputed Truth has the most successful post in this blog.

Their amazing debut album and the 2nd (Face to Face With The Truth) which is still going strong!

This album is some seriously forward-minded stuff. Take Curtis Mayfield, Jimi Hendrix, Parliament, Rick James, Sun Ra and a 10 strip of acid and put it into a blender and you get this wicked trip from 1975. When you hear the Mellotron and synth outro to "Earthquake Shake" you'll know that you've entered Motown on Mars. There's even a Neil Young cover (Down by the River)... You couldn't take enough drugs these days to make something this wild.

Label: Gordy
Catalog#: G6-970S1
Format: Vinyl, LP
Country: US

Style: Funk, Psychedelic, Soul
Producer - Norman Whitfield


Tracklisting:
A1 Earthquake Shake 5.53
A2 Down By The River 6.35
A3 UFO's 4.17
A4 Lil' Red Ridin' Hood 4.02
A5 Squeeze Me, Tease Me 3.53
B1 Spaced Out 3.11
B2 Got To Get My Hands On Some Lovin' 2.35
B3 1990 4.01
B4 (I Know) I'm Losing You 6.51

Fans of the Undisputed Truth's first two albums were shocked when they purchased Cosmic Truth. On their previous album, Down To Earth, they had combined older tracks featuring original members Billie Rae Calvin and Brenda Joyce Evans' pretty two-part harmonies with harder-edged tracks by new members. The group consisted of Calvin Stevens, Tyrone Douglas, and Virginia McDonald. Stevens and Douglas had been members of the Magictones, a third-tier Detroit R&B group. The threesome joins Joe Harris for some spacy, rock-influenced, funky sounds. "UFO's" skips along with an infectious beat, a futuristic sound, and incredulous vocals from Joe Harris. Neil Young's "Down By the River" gets a soul injection, as if it needed one. Their version of "(I Know) I'm Losing You" is sung by one of the newer male members, and producer Norman Whifield allows him to cut loose — unusual for Whitfield, who usually demanded that his singers stick close to the melody. "Earthquake Shake" and "Got to Get My Hands on Some Lovin'" are pure heavy metal. "1990" has a strutting beat and is more subtle than the Temptations' version, with Dennis Edwards' in-your-face vocals. If you like howling and chattering guitars, this one is for you.

Get it here
undisputed_truth_-_1975_-_cosmic_truth.rar

Saturday, December 22, 2007

Black Blood - 1975 - Chicano

Black Blood - 1975 - Chicano

The only Black Blood that's actually worth having in my opinion.
It contains their great downtempo funk track 'Avenue Louise' and the catchy breakbeat track 'AIE', which are both available on 45, but it also has the hypnotic Afrobeat track 'Jesus Wa-Basungu' on it. Produced by Ralph Benatar and Jean Kluger.

Tracks :
A1 Chicano (When Philly Goes To Barcelona) (4:07)
A2 Mapendoya Faranga (La Faranga) (3:38)
A3 Twalikutemwa (2:40)
A4 Aye Mama (2:29)
A5 Mama Iko Na Lia (3:17)
A6 Marie-Therese (3:06)
B1 A I E (A Mwana) (2:54)
B2 Jesus Wa-Basungu (3:34)
B3 Avenue Louise (3:06)
B4 Ewohe Dance (2:45)
B5 Rastiferia (3:10)
B6 Kiswahili (African Song) (3:04)

This African band called Black Blood was performing in a club in Brussels, Belgium when producer Jean Kluger (Roland Klugers older brother, who produced Sail-Joia ao.) heard them. He offered them a record deal and cut this single with them. At first, the song Marie-Therese was the a-side. The song 'A.I.E.' was just another version of a song Kluger had recorded with the Yamasuki's. When it came out, radio's were playing A.I.E. and it was a hit, so it was put on the a-side on later pressings. Now, about the music: A.I.E. starts off with a drumbreak filled with percussion sounds, right before the catchy melody comes in. The vocals are african shouts. Chicano is one of their's best work in my opinion. It contains their great downtempo funk track 'Avenue Louise' and the catchy breakbeat track 'AIE', which are both available on 45, but it also has the hypnotic Afrobeat track Jesus Wa-Basungu on it. Produced by Ralph Benatar and Jean Kluger.

Listen "Chicano" here :
http://www.spoems.com/video_8QgleJB0MVc.html

Black Blood was an eight-member R&B band from Baton Rouge, LA, that had an R&B chart entry in 1975 with "A.I.E. (A Mwana)." ~William Ruhlmann, All Music Guide

Get It Here @ 320 :
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Thursday, December 20, 2007

The Moments - 1976 - With You

Influenced by the Impressions and Smokey Robinson, The Moments were one of those silky smooth vocal groups like Stylistics, Spinners, Chi-lites, Main Ingredient.

This vinyl is an excellent introduction to one of the finest smooth soul groups.

This is a 320@ rip of my original vinyl with artwork.
Very Rare you won’t find it anywhere else.

Stang Records ST1030

Tracks

Side1
A1. We Don’t Cry Out Loud 4.10
A2. With You 3.48
A3. Oh I Could Have Loved You 4.28
A4. I Don’t Wanna Go 6.06

Side 2
B1. Come In Girl 3.57
B2. La La La 3.25
B3. Running 5.15
B4. Stay 2.43
B5. Slap Your Hands To The Music 3.37

1
The three singers who made up the Moments - Harry Ray, Al Goodman, and William Brown - were endowed with voices that were just as convincing as lead vocals as as harmony vocals.
Side One contains slow, Side Two, fast songs. With You and I Don't Wanna Go (written by Carole Bayer Sager) are great examples of the magic the Moments were able to create in their ballads.
On the other hand, the Funk tunes are too formalized to compete with the quality of the ballads, with the exception of La La La, which is a credible Funk jam.

2

"Look At Me (I'm In Love)" did so well (#1 R&B) the Moments continued the soft, lush, soulful sound on Moments With You. Side two consists of generic fodder written by Al Goodman, Harry Ray, and keyboardist Walter Morris. But side one contains three down tempo compositions' courtesy of Carole Bayer Sager and friends, eloquently led by Harry Ray's whisper-falsetto. The waltz paced "With You," became a substantial seller; the hurt factor alone should have pushed "I Could Have Love You," up the charts, and "I Don't Want to Go," overwhelming harmonies will leave you breathless. Billy Brown leads the tension building "Don't Cry Out Loud" (also written by Bayer Sager) in his strong gospel trained tenor.

bio

One of the most consistent R&B aggregations of the '70s, the Moments enjoyed a string of major hits throughout the decade. The Hackensack, NJ, trio introduced themselves and the Stang label with "Not on the Outside" in 1968, and topped the R&B charts in 1970 with the gold-plated "Love on a Two-Way Street," produced by Sylvia Robinson (one half of Mickey & Sylvia). Other major soul smashes by the Moments included "If I Didn't Care" and "All I Have" in 1970, "Sexy Mama" in 1973, and another number one R&B item, "Look at Me (I'm in Love)," in 1975. Members Harry Ray, Al Goodman, and William Brown changed their billing to Ray, Goodman & Brown in 1978 and topped the soul lists the next year with the slickly harmonized "Special Lady" on Polydor. The renamed trio remained potent soul hitmakers through the '80s.

Get the moments here

Moments_-_1976_-_With_You.rar

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Monday, December 17, 2007

Parliament - 1976 - The Clones Of Dr. Funkenstein

An oft-overlooked gem from Parliament -- released during the year 1976, and sometimes hidden between monster LPs like Funkentelechy and Mothership Connection -- but every bit as those two classics! The album's got that tightened-up P-Funk sound that was working so perfectly at the time -- still with all the fuzzy haired elements of earlier years, but presented with a bit more focus -- and a powerhouse swing that really drives the tracks home with a funky groove on the bottom! There's a flowing sort of energy here that almost makes you think that the whole thing just emerged naturally from the brain of George Clinton -- but all ensemble players have a strong hand in the action, and really get some great moments in on the set.

The cover just made me laugh at first but the music blew me away. The story of this Parliament record is that the band took them self as being an Alien lifeform from outer space, and the mission was bringing p-funk music to planet earth.
Nevertheless this record is the ultimate Parliament record for me. It is some seriously crazy stuff in there but incredible musicians are bringing the mothership ahead with Fred Wesley and Maceo Parker from James Browns band among some.
Acid drugs were a big part in forging this music, and the result was P-funk at is best, yet humorous and fun.
The highlight of the whole thing is "Dr.Funkenstein", just listen to the lyrics.. Classic!!

Casablanca Records NBLP 7034

Credits:

Bass - Bootsy Collins , Cordell Mosson
Drums, Percussion - Bootsy Collins , Gary Mudbone Cooper , Jerome Brailey
Guitar - Garry Shider , Glen Goins , Michael Hampton
Horns - Fred Wesley , Maceo Parker , Michael Brecker , Rick Gardner
Keyboards, Synthesizer - Bernie Worrell
Vocals - Bootsy Collins , Calvin Simon , Fuzzy Haskins , Garry Shider , George Clinton , Glen Goins , Grady Thomas , Ray Davis

Tracklisting:
A1 Prelude (1:40)
A2 Gamin' On Ya (3:02)
A3 Dr.Funkenstein (5:46)
A4 Children Of Production (3:57)
A5 Getten' To Know You (5:20)
B1 Do That Stuff (4:47)
B2 Everything Is On The One (3:47)
B3 I've Been Watching You (Move Your Sexy Body) (6:01)
B4 Funkin' For Fun (5:56)

1
After the totally over the top "Mothership Connection" with all its farting snare orgies and twisted Worrellisms which can all get a bit too much, if you ask me, this one offers earthy funk and soul w/o neglecting the p-funk goofiness. The horns on Clones especially are a real treat. Okay, if you must compare this to M'ship and then Funkentelechy, then it will probably not quite be in the same class. But if you love proper funk that's just crazy enough to keep you entertained, Clones will not go on your nerves as Mothership does for me.

2
This album is the followup to the brilliant "Mothership Connection", which is an absolute classic. In concept "The Clones Of Dr. Funkenstein" stays on the same path as the former (Dr. Funkenstein, Starchild's ally, is introduced, and we get to know that the pyramids contain all the secrets of the Funk), but in musical terms the album tries to be a little more commercial. You might say; less nasty. Don't let that scare you because this album is still classic Parliament. The grooves are tight and the singing is the most soulful I've ever heard (thanks to Glen Goins). 'Getting To Know You' is one of my favorite slow jams of all time. All the lyrics are still of that typical, humoristic and crazy anti-establishment kind. P-funk fanatics (as if there are other kinds) will love this album and non- P-funk people should check this out as well. You might become addicted...

3

Following closely on the heels of "Mothership Connection", the group's undisputed high-water mark, The Clones Of Dr. Funkenstein furthers George Clinton's conceptual and musical master plan to funkify the world. The Clones unravels the Funk Mob's cosmology and populates it with a cast of mythological characters that includes Starchild (introduced on Mothership) and the Funk overlord himself, Dr. Funkenstein. By this album, Parliament have almost completely moved away from the guitar-dominated psychedelic soul of their early '70s output and entrenched themselves in the realm of lighter, horn and keyboard-driven experimental dance music.

While weakened by over-conceptualization and Parliament's sometimes too-goofy sense of humor--qualities that would seriously mar the group's later output--this disc is nonetheless full of freaky, utterly original jam-formula compositions bolstered by outstanding musicianship. "Do That Stuff" and "I've Been Watching You" are highlights. Though old school P-Funk fans may see this record as Parliament's bid for the commercial mainstream, it is still impossible to deny the unique, exuberant music within.

Get Mr. Funkenstein here

parliament_-_1976_the_clones_of_dr._funkenstein.rar

Friday, December 14, 2007

Linda Lewis - 1972 - Lark

Beautiful and haunting at times, Linda Lewis has the smooth, pop-jazzy sound that is truly unique. As a singer and songwriter Linda Lewis was exceptional. She was a brilliant talent with an uplifting spirituality. Not only did it bring back fond memories, but her voice is, like the album name, as clear as a bird.

Lewis is very much the British equivalent of Minnie Riperton, with her band Ferris Wheel in the place of Riperton's Rotary Connection. If we're going to further the comparison, Lark is her Come to My Garden. They really do sound very similar and both vocalists reportedly have the five-octave range, but whatever. This album rules and is really filled with post-Joni Mitchell brightness and arrangements.


One of the best-ever albums by this lovely soulful singer! Linda Lewis had an amazing style that was somewhere in between Minnie Riperton, Joni Mitchell, and Ellen McIlwaine -- meaning that she mixes soul, folk, and a bit of jazz into her own unique vibe. This album's a gem, and is filled with groovy little songs that have a great sweetly jazzy vibe, and some excellent production that keeps things nicely in place. Linda wrote all the tracks, and backing is by a tight little group that mixes guitar, keyboards, and percussion, in kind of an LA small studio combo sort of way.



Reprise Records K 44208


Tracklisting
A1 Spring Song (2:08)
A2 Reach For The Truth (4:48)
A3 It's The Frame (3:38)
A4 Feeling Feeling (3:04)
A5 What Are You Asking Me For (2:50)
A6 Lark (4:31)
B1 Rock A Doodle Do (3:26)
B2 Old Smokey (3:21)
B3 Gladly Give My Hand (2:40)
B4 More Than A Fool (3:24)
B5 Been My Best (2:53)
B6 Waterbaby (3:55)
B7 Little Indians (2:53)

London-born Linda Lewis was one of those pleasant new discoveries for myself and my younger brother back in the 1970's when our musical tastes were starting to expand beyond only what Top 40 'hit' radio was funneling out to the masses. I first learned of this record and this unique artist through reading new album 'previews' in the music industry trade journals(which I had direct access to by virtue of working in a public library during my college years). It was at this point that I began actively searching for 'new' and exciting fresh sounds from artists who weren't really in the current mainstream and Linda Lewis has always remained a lifelong personal favorite! I've always been drawn towards female vocalists who exhibit an unusual style or sound whereas I've tended to listen to(and learn from)mostly the classic male singers, for the most part. When I first learned of this new album release; I was intrigued by what it might possibly contain because; to my knowledge; she hadn't had any 'hit' records on the U.S. charts and her debut album had escaped mostly everyone's notice on this side of the 'pond'. But here is some classic songwriting, performing and production that; for me, remains timeless. Only recently did I learn that this work was available in CD format(as an Import)and I was willing to pay a princely sum just to have a master-quality copy of this album; also purchasing an additional copy to ship to my brother, as well! When we had it in our vinyl collection, we played it only sparingly because of its' rarity and in the small midwestern city where we grew up, virtually no one else that we knew was even aware of her work, beyond those music store clerks whose tastes were a bit more progressive. So it has always held a special place in both of our contemporary music libraries. There's not one song on this record that I dislike and it occupies a space in that rare category of albums that have no weak songs in the material(and there aren't many of those)! Linda Lewis is, for us; unquestionably a true artist of the first caliber and if you can afford the tariff; this is a choice item for your collection and one that you will still find refreshing to listen to long after tiring of the regular 'dogchow'!
Still Bill "studioratt" (Los Angeles,ca)

Get Linda here
linda_lewis_-_1973_-_lark.rar

Wednesday, December 12, 2007

Gwen McCrae - 1976 - Something So Right

Gwen McCrae - 1976 - Something So Right

Tracks :
1 Something So Right (5:24)
2 Tears On My Pillow (4:00)
3 Love Without Sex (4:50)
4 Mr. Everything (3:42)
5 Iron Woman (4:12)
6 Damn' Right It's Good (4:00)
7 Let Nature Take Its Course (3:30)
8 I've Got Nothing To Lose But The Blues (4:42)

Sexy soul from the great Gwen McCrae -- a key follow-up to her massive Rockin Chair, and an album that showed that she could go a lot deeper than just pop soul! Given Gwen's contribution to the early disco years, the record's got a surprisingly laidback feel -- classic female southern soul at its best, with a number of tracks that hit a great sort of late nite, lovelorn sort of mode -- almost like some of Ann Sexton's work from the time. Other tunes pick up the groove a bit more, but still go for more of a funky soul sort of style than a disco one -- and all tracks really make the best use of Gwen's deep soul vocals. Clarence Reid wrote most of the material.


Review :
Miami soul songstress Gwen McCrae never scored another huge hit after
1975's "Rockin Chair," but she did continue to make fine soul recordings through the end of the decade. One of the best of them is 1976's Something So Right. While it lacks an obvious hit single, this album is a solid, soulful showcase for McCrae's vocals. Her style retains the emotional earthiness needed to truly connect with her listeners. A good example of her style arrives with her performance on the title track, the cover of a Paul Simon classic, which balances an elegant and controlled delivery on the verses with a more emotional delivery on the chorus. She also displays a brassy sense of authority on dance-oriented numbers like "Mr. Everything" and "Iron Woman." Something So Right further benefits from Clarence Reid and Steve Alaimo's smooth production, which keeps a solid groove rolling as it sweetens the sound with yearning string arrangements. They also apply a creative touch to the album's cover versions: for instance, the classic Little Anthony doo wop tune "Tears on My Pillow" is transformed into a elegant ballad that gives McCrae room to throw in Millie Jackson-styled spoken interjections. The downside of Something So Right is that it favors track-to-track consistency over the kind of songs that would connect with a larger audience: this makes it likely that this album will remain a cult item. That said, anyone with a yen for 1970s soul will find plenty to enjoy on Something So Right.
~ Donald A. Guarisco, All Music Guide

Get It Here :
RapidShare : rapidshare.com/files/Gwen_McCrae.rar
or
SendSpace : www.sendspace.com/file/xmn5jm

Monday, December 10, 2007

Shotgun - 1977 - Shotgun

This Detroit outfit never got their big break & judging by this smoking slab of prime funk, it's a complete mystery how success eluded them. Oozing with the very same kind of grooves found in class acts like Brick, Slave, Cameo & the Kay-Gees, this album explodes from the opening salvo & never relents until the fade of the final cut. Packed with snappy bass lines, rubbery vocals & punchy guitars, "Shotgun" cruises along at a generally restless pace & leaves the listener satisfied in the end. How these boys never made the big leap is beyond me.

This ROCKS!

ABC 1997 LP AB979

Tracks

Friday Night

A1 Shotgun 3.11
A2 Troubleshooter 3.43
A3 Good Thing 3.52
A4 Concrete Jungle 3.28
A5 Get Down With the Get Down 3.25

Saturday Night
B1 Mutha Funk 4.56
B2 Shady Lady 4.27
B3 Hot Line 4.47

B4 Dynamite (The Bomb) 3.18

The first album by Shotgun -- one of the many major label funk groups who flourished briefly at the end of the 70s. The group have a harder sound than most of this nature -- with plenty of guitars in the mix, and an overall heavier sound than you'd expect from an effort of this type. In fact, there's almost a rock/funk kind of groove going on -- one that would be more typical of early 70s crossover efforts on Epic, in the wake of Sly Stone and other artists like that. Tracks include "Concrete Jungle", "Get Down with the Get Down", "Mutha Funk", "Hot Line", "Dynamite (The Bomb)", and "Good Thing". (Dusty Groove America)

This six-man funk outfit's debut album showcased two single releases. "Hotline" is a moderately paced funk cut with lyrics that are somewhat vague with regard to the song's message; the number peaked at #87 after seven weeks on the Billboard R&B charts. "Mutha Funk" is a pumpin' number which lives up to its title; however, the single only managed a #67 ranking after staying on the charts one week longer than the album's initial release. Most of the vocals are poorly arranged. As funky as this group's music is, many cuts are heavily doused with rock & roll. (AMG)


Get This Rockin Funk here
shotgun_-_1977_-_shotgun.rar


Let's see your replies brothers.

Saturday, December 8, 2007

Tami Lynn - 1972 - Love Is Here And Now You're Gone

We were the first to introduce you Doris Duke, Timi Yuro and Lorraine Ellison.

Here's another lady with a great voice in her only rare album.

1972 Cotillion/Atlantic rare groove classic from soul singer Tami Lynn, who is best known for her work with the Rolling Stones, Dr. John and others. Produced by Jerry Wexler, Tom Dowd, and Bert Berns.

A deep-soul treasure, the disc's first half is a devastating heartbreak suite, and the second is fired by the up tempo strut of a woman on the comeback trail.

This is a nice @320 vinyl rip of my original Cotillion LP, with covers.

Tracks

Side1

A1. (a) Monologue: Introduction To A Love Affair
(b) Wings Upon Your Horn
A2. (a) Monologue: Hoping
(b) Love Is Here & Now You're Gone
A3. (a) Monologue: Final Attempt
(b) Can't Last Much Longer
A4. (a) Monologue: The Next Time!
(b) That's Understanding
Total 20:50

Side 2
B1. I'm Gonna Run Away From You 2:49
B2. Ain't No Soul (Left In These Old Shoes) 2:18
B3. A World You Left Behind You 4:44
B4. Never No More 2:49
B5. Mo Jo Hanna 3: 23
B6. One Night Of Sin 2:53

1
New Orlean's soul singer Tami Lynn had already been in the business for the better part of a decade when her full-length debut appeared toward the end of 1971. In addition to backing up sessions for Dr. John, Sonny & Cher, the Rolling Stones, and Wilson Pickett, she’d made a pair of incredible 45’s, one of which became a belated hit on the dance floors of England. A bona fide classic Northern Soul single, the ebullient “I’m Gonna Run Away From You” had been recorded for ATCO in 1965 after A&R man Jerry Wexler, producer of Dusty In Memphis and countless other classics, had discovered the young singer at a talent showcase. After the song finally found an audience, it was included – probably unwisely – on an album of songs with which it had very little in common. Predictably, the Northern Soul crowd didn’t care much for the other tracks on the album and refrained from purchasing it, sadly relegating it to three long decades of obscurity.
The album was produced by John Abbey, who as a consultant for Polydor’s Mojo soul subsidiary had been responsible for the reissue of “I’m Gonna Run Away From You,” a Top 40 hit in the UK for 14 months after its release. Abbey, a big fan of country music, brought Tami to Malaco Studios in Jackson, Mississippi, to record and chose Loretta Lynn’s “Wings Upon Your Horn” as the opening cut. The first three tracks on Love Is Here And Now You’re Gone have a lot in common with the country-influenced soul of Candi Staton and Bettye Swann. All three are incredibly beautiful and moving songs; after the initial thrill of the fantastic “Run Away” fades, the beginning of the album is what you’ll find yourself returning to over and over again. Lynn’s version of “Can’t Last Much Longer” by New Orleans legend Allen Toussaint is particularly wonderful.
With the exception of the string-drenched “Ain’t No Soul (Left In These Old Shoes),” the rest of the album is a whole lot funkier. Aside from the aforementioned “I’m Gonna Run Away From You,” which makes hardly any sense in the context of the album, the best of the later tracks is a rousing cover of the Patterson Sisters’ “That’s Understanding.” The song’s arrangement has more than a passing resemblance to Jean Knight’s massive hit “Mr. Big Stuff,” which had been recorded by a house band at the same studio. “Never No More,” the only Tami Lynn original on the album, is also pretty great. Included as bonus tracks are both sides of the impromptu Cotillion single “Mo Jo Hanna,” which Jerry Wexler produced after he ran into his former protégé at one of her sessions with Dr. John.

2

Love Is Here and Now You’re Gone album you will find a whole lot more than a killer compilation cut. You’ll discover an absolute monster deep soul album and a tale of record biz genius and folly.
The folly is that no one could parlay a unique voice, a killer album, talent and chops into a sensation. The genius came from her discoverer (Jerry Wexler), the producer (Wardell Quezergue-the highly underrated and prolific New Orleans music cat) , the session band (recorded at Malaco in Jackson,MS)and Tami Lynn.
Side one of Love is Here..,is a suite of tunes that tell the story of a love affair in almost southern gothic fashion. The songs come from sources as diverse as Allen Toussaint, Holland,Dozier ,Holland, and Loretta Lynn and our linked (as was the style of the day) by monologues. The tempos are very slow and build up to my favorite track, That’s Understanding; a “Mr.Big Stuff”-style tune that surges (or is it escalates) along to a symphonic, horn blasting, almost rock crescendo, with Tami’s voice a perfect fit for every arrangement. Loud, soft,confident,vulnerable it’s all in there..and that’s just side 1.
Side 2 is a bit of a letdown as the record company tries to shoe horn re recordings of her earlier British hit and prior regional successes into the mix, but tunes like One Night of Sin and Tami’s voice pull the side through. It is a damn shame this album didn’t make it big, but I’m glad I’ve found it and I hope the What it is! box leads some more folks to it.
From a very early age Tami Lynn was a singer. Brought up and cutting her teeth in New Orleans, she went on to a brief brush with fame and a long career as an in demand session vocalist, including work with the Rolling Stones for the Exile on Main Street sessions. For her (and most folks) that would be enough, but,on top of a lifetime of great music, she went ahead and cut one of the most beautiful classic southern soul LP’s ever waxed.

Understand that!

Get it here
Tami_Lynn_-__72_-_Love_Is_Here_And_Now_You_re_Gone.rar

Friday, December 7, 2007

Toys - Sing A Lover's Concerto And Attack! [1967]

The influence of the Toys is evident when one sees the group listed as the first "tribute" on page 49 of the Supremes four-CD box set on Motown. The Supremes' own "I Hear a Symphony," released October 6, 1965, was a tribute to the tribute, if you will. It says a lot about the competition as the Toys hit number two on the charts that very week, pushing the Supremes, Diana Ross, and the production team of Holland/Dozier/Holland to one of their greatest heights. The re-write of Bach, with its boss production, is a sweeping pop sensation. And the album's 14 tracks play like the Ronettes' first and only official release, a magnificent statement of vocal harmony and pretty melodies. The songwriter/production team of Sandy Linzer and Denny Randell for Bob Crewe Productions add that remarkable Four Seasons punch to the music. A little of the boy group sound, classical music, and a refreshing collection of melodies that the airwaves were, somehow, denied. "This Night," "Back Street," solid dance hall/radio hits that never got to reign the way "Lover's Concerto" and, to a lesser degree, "Attack" climbed the Top 40. "Attack" is a brilliant song that sounds like a tribute to Frankie Valli. The Dyno Voice album, re-relased on Sundazed, is augmented by singles "Baby Toys" and "May My Heart Be Cast Into Stone," songs that lead soprano Barbara Harris said were recorded for the second, unreleased Toys disc slated for Dyno Voice. The musical camaraderie on "Baby Toys" is amazing. These voices carry. Both singles are a welcome addition to this album, and they should've been huge. June Montiero's vocal on The Beatles' "Yesterday" bridges the gap between the Vegas and new wave arrangement. Perhaps that marriage of underground rock with middle of the road pop is what makes the girl group genre so perpetually inviting. The first track on the disc, "Can't Get Enough of You Baby," is reminiscent of the Cake, a band that couldn't crack the Billboard Top 40 as the Toys did, but deserved to. "Hallelujah," not the fun Sweathog tune from 1971, but a wonderful song that should've hit, with a delicious lead vocal by Barbara Parritt. The Toys were formidable beyond their two Top 20 hits; "This Night" is a fine example. The girls continue to practice and tour with Richard Nader's rock & roll packages. Harris, with a strong solo record Barbara Now, speaks highly of Nader and his events. This CD, with its bonus tracks and replication of the original disc and liner notes, is classic pop. [Allmusic.com]

Track list;
01 - Can't Get Enough Of You Baby
02 - Deserted
03 - See How They Run
04 - Halleljah
05 - I Got A Man
06 - A Lover's Concerto
07 - What's Wrong With Me Baby
08 - Yesterday
09 - Baby's Gone
10 - This Night
11 - Back Street
12 - Attack
13 - Baby Toys
14 - May My Heart Be Cast Into Stone

[192k]

Style; Soul, Girl Group

Tuesday, December 4, 2007

Mandre (Andre Lewis) - 1977 - Mandre

Funky Groovy People this is for you!!

How can i describe this album?

Space Funk? Astral Jazz Funk? Sinister Funk? Spacey Synth Grooves?

What i say for sure is : the music that has withstood the test of time.

Mandre was a group that Andre Lewis started in 1977 as a continuation of the gospel/soul group "Maxayn" which was named after the lead singer Maxayn Lewis, Andre's wife. While the Maxayn group had been playing gospel and soul with Maxayn Lewis on lead vocals, the Mandre group was Andre's project to add electronic elements and also shift the sound toward more spacey funk and disco. Andre also played keyboards for Frank Zappa, Buddy Miles, LaBelle, Earth Wind and Fire, Huey Lewis, Edwin Starr, Charles Wilson and the Gap Band, Sly Stone, Bobby Womack, Johnny Guitar Watson and a handful of others. He was also a tester of Roland products and was one of the first musicians to record with the infamous Roland TR-808 drum machine.

Tracks

A1 Keep Tryin' 3:29
A2 Solar Flight (Opus I) 7:57
A3 Interlude 2:45
A4 Third World Calling (Opus II) 6:42
B1 Masked Music Man 3:03
B2 Money (That's What I Want) 4:15
B3 Wonder What I'd Do 4:35
B4 Dirty Love 4:00
B5 Masked Marauder 3:28

Reviews

1

"This album was a fore runner to what we now call Electronica and even Lounge to some extent with just a hint of Funk. He produced three albums but none of the latter equaled this debut album. An extrodinary keyboardist with a interesting voice that somehow complemented his music. Tunes like "Solar Flight" and "Interlude" are still timeless today. A great example of his voice can be found on "Wonder What I'd Do", a hauntingly classic style RnB tune. It would be great to find this on disc today".

2

"When I was an teenager in 1976-77 the radio station aired an artist I never heard of before, the song was called "Solar Flight", his style of music was just synthesizers, and it was ominous and spiritual to me. I had to run out to get this album, it was a all black cover with just a silver mask on the front of it, and I draw a blank to how the back of it looked, but I never saw who this man was, since then I have manage to lose his album or it was stolen, I am not quite sure what happen to it, but I was unable to replace it and I never forgot him or his music, so if you're into the use of synthesizers you really need to check out this guy, oh by the way the interlude that concluded that side of the album was just too short for me, because it was awesome. but I will kill...ok almost kill to hear his music again. I am close to getting his music downloaded, but it seems even though someone has heard of him, no one's actually have it to purchase and that is so frustrating I could".

3

.....The first (self-titled) LP came out in 1977 on Motown Records and featured a mixture of Funk, Disco and some more Jazzy elements. It was mostly vocal tracks, including a great cover of Frank Zappa's "Dirty Love", but the standout track for me was the instrumental "Solar Flight" with its sweet synth solo's and a cracking bassline. The cover art (above) is also fantastic, very Daft Punk as somebody pointed out to me. Sought after for the sublime spacey synth grooves of 'Solar Flight' and 'Third World Calling'.......

I would like to thank Andre Lewis cause he left a comment on our post of the fantastic Maxayn album, (Marlo Henderson the guitar player did the same). For those who still haven't discover it, please grab it now and read what they say. These comments make this blog very proud. We are huge fans and we respect them for the music we still enjoy!

Bio

http://www.united-mutations.com/l/andre_lewis.htm

Get the space funk here

Mandre_andre_lewis___-_1977_-__mandre.rar

Waiting for your opinion about Mandre.

Sunday, December 2, 2007

Intruders - 1973 - Save The Children

I recently happened to listen to this vinyl and felt so overwhelmed and such a joy. This LP shows that music is not just interpretation and hits but also send messages.
And the messages of this Lp are not only timely but also so important.

I’ve always like Gamble and Huff and I adore Philadelphia sound. Especially here that is performed by a superb group where the outstanding vocals, apart from their undoubtful quality, are combined so harmonically together.

I love Little Sonny's unique voice, it has been described by some in the industry as a nasal voice, and had also a unique way of singing: seems as he cry and also as he speak. I only find a little resemblance with some moments in some songs by another great little: Little Anthony.

This is a nice @320 vinyl rip of my original Gamble LP.

Tracks

A1. Save The Children 6.58
A2. Mother And Child Reunion 4.04
A3. I Wanna Know Your Name 5.49
A4. To Be Happy Is The Real Thing 3.28

B1. I'll Always Love My Mama 6.36
B2. Memories Are Here To Stay 3.15
B3. Teardrops 5.07
B4. Hang On In There 3.21

1

No argument -- this is the best Intruders album, other than their greatest-hits compilations, ever released. Little Sonny (Sam Brown) returns to join his buddies, Phil Terry, Eugene "Big Sonny" Daugherty, and Robert "Bird" Edwards, after an unexplained hiatus. "Save the Children" is a socially significant floater where the guys' voices ride the waves of MFSB's fantastic sound. Gamble and Huff spotlight the return of Little Sonny on "I Wanna Know Your Name"; the song employs a convincing rap by the singer. It also became a popular remake, as versions by the Force MD's and Wallace & Scotty (of the Whispers) have since been waxed. "To Be Happy Is the Real Thing" and "Hang On In There" are two upbeat, positive-thinking songs that make you feel better about yourself. The Philadelphians reveal their doo wop roots by doing a credible rendition of Lee Andrews and the Hearts' "Teardrops." The cream is the spirited, tear-inducing "I Always Love My Mama," the best mama song ever. The Intruders rap about their teen years during the break before the song builds to a frantic end. A mellow rendition of Paul Simon's "Mother and Child Reunion" shows the group's versatility(AMG).

2

A classic album from this incredible Philly soul group! The Intruders were one of the first groups to work with the Gamble/Huff team -- and their sides for the team from the 60s have an amazingly professional approach to harmony soul, never afraid to hit a good hook or go for a strong image to sell a song, yet still quite raw and honest in the vocal department, where things really matter. This record is one of two late albums they recorded once Gamble & Huff had gotten a bit more fame and a lot more money -- and it's an interesting transition to the slicker Philly International mode of the 70s. The band make the transition wonderfully, though -- and even though they're couched in tight MFSB orchestrations, the vocals shine through brilliantly, with a less-polished quality that's a welcome change from some of the other Philly groups of the time. The big cut on the album is the band's famous tribute to motherhood -- the long groover "I'll Always Love My Mama", which has some of the sweetest lyrics you'll ever hear on a Philly soul album -- and which is served up here in the extended version that features some great talking near the end! But most of the rest of the cuts are fantastic, too -- like the group's wonderful version of Gil Scott-Heron's "Save the Children", and the great ballads "I Wanna Know Your Name" and "To Be Happy is the Real Thing".

You can find the extremely rare and superb Intruders "Cowboys to Girls" album in our older post pages.

Bio - Discography - Photos

http://www.soulcellar.co.uk/intruders/IntrudersDiscography.html

Get it here

Intruders_-_1973_-_Save_The_children.rar

Your feelings about the album, the blog or anything you like, are welcome.